54 10 686 https://omeka.uottawa.ca/jmccutcheon/files/original/c8e9355b5899b4afa138a4246006cf16.jpeg ab70b77d79611fefa211560756168980 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chernobyl and Popular Culture Subject The topic of the resource A collection of items related to more contemporary interests related to the Chernobyl Nuclear Disaster Creator An entity primarily responsible for making the resource Kayleigh Gagné Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource STALKER https://omeka.uottawa.ca/jmccutcheon/files/original/22332b01a7bf80adc757bf12bbb730c8.png 1df4623a8b2ed0039e95682d537eaf44 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chernobyl and Popular Culture Subject The topic of the resource A collection of items related to more contemporary interests related to the Chernobyl Nuclear Disaster Creator An entity primarily responsible for making the resource Kayleigh Gagné Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Call of Duty 4: Modern Warfare https://omeka.uottawa.ca/jmccutcheon/files/original/37660831205b6595e69d36a1e8c855e6.jpeg 735923dafe0e161d89a910d4d5717fab https://omeka.uottawa.ca/jmccutcheon/files/original/0c40f09d5c8963594b1014a6a210ffdc.jpeg 281e37d733381f397b32cd5c52573686 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chernobyl and Popular Culture Subject The topic of the resource A collection of items related to more contemporary interests related to the Chernobyl Nuclear Disaster Creator An entity primarily responsible for making the resource Kayleigh Gagné Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Extreme Tourism https://omeka.uottawa.ca/jmccutcheon/files/original/693a25d9383ec04c8aed6376a6335659.png 09e354ff031197652def589e9de50a7f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Zerzura Subject The topic of the resource Most of the desert has not been explored or mapped at the beginning of the 20th century (by Europeans). Rumours of lost oases, dating from early Arab writings passed down through generations, spurred interest. One of the oasis legends that capture the attention of explorers is the oasis of Zerzura. There was so much interest in this mythical oasis, that the Zezura club was founded by Major Ralph A. Bagnold in 1930. Both real lice and fictional Almasy are fascinated by the idea of this oasis. It was believed that Zerzura was located somewhere on the Gilf Kebir Plateau, whose elevation would allow for rains. During a lecture given to the geographic society, Dr. Bermann mentions Almasy’s fascination in the myth, “Soon [Almasy] had become fascinated by the old problem, and he would discuss it with me. Since the times of the Egyptians, he explained, there had been a vague but persistent rumour of fertile lands lying in the desert west of the Nile. The famous expedition King Cambyses army against the oasis of Jupiter Ammon could have been planned if the existence of water somewhere in the middle desert had not been known. All through the Middle Ages Arab writers told about a hidden oasis; the name of Zerzura-meaning probably "Oasis Little Birds"-had been mentioned for the first time in the thirteenth century” (Bermann, Historic Problems of the Libyan Desert, 456). Many lectures and articles written for the Geographical Society refer to Zerzura. John Ball, Director of Desert Surveys, Egypt, gave a lecture in 1927 titled “Problems of the Libyan Desert”. In one section it discusses the difficulty in finding Zerzura due to the contradictory information about the oasis, as well as possibilities of where it might be. While it is never found in real life (the Zerzura club was recently resurrected), in the novel Almasy finds Zerzura. Ondaatje writes “By the mid-1930s the lost oasis of Zerzura was found by Ladislaus de Almásy and his companions” (Ondaatje 1635-1636). https://omeka.uottawa.ca/jmccutcheon/files/original/dbd8604ab5d2766e09c84c0cfb97d830.png 635cfa70d6469cffd94bd31e093cd19c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Wadi Sura/Cave of Swimmers Subject The topic of the resource Wadi Sura is mentioned early on in the book, although it is only later in the novel that we realize the significance of this place for Almasy. Wadi Sura (Wadi meaning dried up body of water) is a series of caves, near a dried up body of water, likely a lake. It is near the Gilf Kebir, and the explorers find it during their search for Zerzura. When Almasy first mentions it, he is emphasizing his knowledge of geography. He remembers “In Wadi Sura I saw caves whose walls were covered in paintings of swimmers. Here there had been a lake. I could draw its shape on the wall for them. I could lead them to its edge, six thousand years ago” (Ondaatje). When Wadi Sura is mentioned again, it is referred to as “the cave of swimmers”. He recounts a return to Wadi Sura, “His limbs exhausted from the four nights of walking. He left his clothes spread on the rocks and climbed up higher into the boulders, climbed out of the desert, which was now, in 1942, a vast battlefield, and went naked into the darkness of the cave. He was among the familiar paintings he had found years earlier. Giraffes. Cattle. The man with his arms raised, in a plumed headdress. Several figures in the unmistakable posture of swimmers. Bermann had been right about the presence of an ancient lake. He walked farther into the coldness, into the Cave of Swimmers, where he had left her. She was still there. She had dragged herself into a corner, had wrapped herself tight in the parachute material. He had promised to return for her. He himself would have been happier to die in a cave, with its privacy, the swimmers caught in the rock around them. Bermann had told him that in Asian gardens you could look at rock and imagine water, you could gaze at a still pool and believe it had the hardness of rock. But she was a woman who had grown up within gardens, among moistness, with words like trellis and hedgehog. Her passion for the desert was temporary (Ondaatje, Michael. The English Patient (Kindle Locations 2043-2047). McClelland & Stewart. Kindle Edition.) He is remembering his return to the cave of swimmers, after leaving the injured Katherine behind. She has died from her injuries, and he has not been able to make it back before her death. He is too late. This place, a place that was a triumphant discovery years earlier, it now somber. He mentions Bermann in this passage. Real life Bermann in fact mentions these caves in his lecture “Historic Problems of the Libyan Desert”, “We lived with the members of mission in the narrow circle of granite boulders that surround the 'Ain Daua. It was May, and the heat was terrific amongst the stones. Refuge we found was in certain caves, or rather holes, with which walls of 'Uweinat are honeycombed. These grottoes, which offered protection against the heat, had been used during this winter by Major expedition, by the Italians, and by a party of British airmen-yet discovered that a little higher up similar little caves contained wonderful documents of an old civilization. It was Almasy who found the first of these caves and showed it to Professor Ludovico di Caporiacco, of the Italian mission, and to me. Two hours later about a dozen more of these caves were located, all covered with beautiful rock paintings in four colours, showing cattle and other animals, mostly tame ones, and human beings: dark-skinned warriors with bows in their hands” (Bermann, Historic Problems of the Libyan Desert, 461). The cave of swimmers is a place that represents Almasy’s guilt and grief at the death of Katherine. https://omeka.uottawa.ca/jmccutcheon/files/original/c718f4466207117ea60f2472cd6ebb22.jpg 181ec5124af9f4c1dacc64e2c8598a64 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Katharine Clifton Subject The topic of the resource Katharine Clifton is first mentioned in the epigraph of The English Patient. The death of herself and her husband are mentioned in the fictional Geographical minutes that Ondaatje has creating, “Clifton at Gilf Kebir, followed later by the disappearance of his wife, Katharine Clifton, which took place during the 1939 desert expedition in search of Zerzura. I cannot begin this meeting tonight without referring very sympathetically to those tragic occurrences. The lecture this evening …” (Ondaatje, 35-37). The significance of who the Clifton’s are remains unknown to the readers until later in the book, when the Clifton’s arrive on scene in the desert to explore with Almasy and the others. Alongside the expected arrival of Geoffrey Clifton, is his new wife, Katherine, who joins the expedition. Some aspects of the real life Katharine remain the same, for example her exploration of the desert. Dr Bermann mentions her in his lecture “Mr. Patrick Clayton, Almasy's late companion, led another expedition into the Gilf region; he was joined by Lady Clayton, Sir Robert's widow, and by Lieut.-Commander Roundell.” (Bermann, Historic Problems of the Libyan Desert, 457-8). Almasy first falls in love with Katharine because of her voice. She recites poetry or reads from Herodotus by the fireside during their time in the desert. After knowing her for a year, they come to realize their mutual desire for one another. Their affair is passionate. They hide it only from her husband, but all others know. And then it ends, and they retreat from one another, two very different people. “She had always wanted words, she loved them, grew up on them. Words gave her clarity, brought reason, shape. Whereas I thought words bent emotions like sticks in water. She returned to her husband. From this point on, she whispered, we will either find or lose our souls. Seas move away, why not lovers? The harbours of Ephesus, the rivers of Heraclitus disappear and are replaced by estuaries of silt. The wife of Candaules becomes the wife of Gyges. Libraries burn. What had our relationship been? A betrayal of those around us, or the desire of another life?” (Ondaatje 2853-2857). Katharine is a character marked by her affair, and her tragic death. She is known to us only through Almasy. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource David Caravaggio Subject The topic of the resource David Caravaggio is a middle-aged thief who arrives at the villa. He has heard that Hana is living there with the patient, after the rest of the hospital has left. He knows Hana from before the war, was a friend of her fathers and saw her grow up. He has been working as a thief and collector of information during the war. He comes to the villa to see Hana, but he remains there and questions the English patient. Caravaggio has been scarred by the war, just like all the others. His thumbs have been cut off, after being caught by the enemy. He thinks to himself “He had lived through a time of war when everything offered up to those around him was a lie. He had felt like a man in the darkness of a room imitating the calls of a bird. But here they were shedding skins. They could imitate nothing but what they were. There was no defence but to look for the truth in others” (Ondaatje 1454-1457). Caravaggio realizes who the English Patient is, and names him as Laudilus de Almasy. The incoherent narrative that Almasy provides is better understood when Caravaggio arrives. Caravaggio questions the Almasy, but he already suspects who he is. Hana at one point in the book writes, “There is a man named Caravaggio, a friend of my father’s. I have always loved him. He is older than I am, about forty-five, I think. He is in a time of darkness, has no confidence. For some reason I am cared for by this friend of my father” (Ondaatje 759-761). Caravaggio tries to protect Hana from the English patient, tries to detach her from him. They reminisce about their past lives, but they also feel detached from it. “Caravaggio sits there in silence, thoughts lost among the floating motes. War has unbalanced him and he can return to no other world as he is, wearing these false limbs that morphine promises. He is a man in middle age who has never become accustomed to families. All his life he has avoided permanent intimacy. Till this war he has been a better lover than husband. He has been a man who slips away, in the way lovers leave chaos, the way thieves leave reduced houses. He watches the man in the bed. He needs to know who this Englishman from the desert is, and reveal him for Hana’s sake.” (Ondaatje 1449-1454). https://omeka.uottawa.ca/jmccutcheon/files/original/1b64ff016f68d6969db5cd6ce53b7e4a.jpg 06dee60b70b12b2df03fb5f3dfd08942 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Herodotus Subject The topic of the resource Almasy carries around a book with him at all times, the book is Herodotus’s Histories. Herodotus was a writer who lived from 484 BCE to about 430 or 420 BCE. He is considered the the father of history, for his depiction of stories in the past. Histories was a record of the ancient traditions, politics, geography and clashes of various cultures that were known in the Western Asia, Northern Africa and Greece. Hana describes Almasy’s 1890 edition of the book, “She picks up the notebook that lies on the small table beside his bed. It is the book he brought with him through the fire— a copy of The Histories by Herodotus that he has added to, cutting and gluing in pages from other books or writing in his own observations— so they all are cradled within the text of Herodotus” (Ondaatje 222-223). Almasy uses the book to collect scraps of information from other books, as well as to take notes and even collect flora samples. He also uses it for the history though, as Abu Baker describes “Almasy and other explorers use literary legends and Herodotus’ Histories to explore reality. [...] The use of an ancient book of history in these explorations testifies to the strength of knowledge that outlives its own time. Herodotus’ book remains, according to Almasy, useful even in modern times not just for scholarly study but for colonial exploration and exploitation of the natural resources of other countries.” (Abu Baker 101-102) Dr. Bermann claims in his lecture to the Geographical Society that he brought only Histories in their “travelling library”, the best guidebook for the Libyan Desert (Bermann 458). https://omeka.uottawa.ca/jmccutcheon/files/original/f309e74f51b18b50e48d8078e01bae0d.png 4e22216e4715da1da49120b14a1f7296 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chernobyl and Popular Culture Subject The topic of the resource A collection of items related to more contemporary interests related to the Chernobyl Nuclear Disaster Creator An entity primarily responsible for making the resource Kayleigh Gagné Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chornobyl 360 Interactive Documentary https://omeka.uottawa.ca/jmccutcheon/files/original/e1680e489c033c8ec30e0f9b10adfa9e.jpeg 6e000ef3221a410e1c39fd411356d769 https://omeka.uottawa.ca/jmccutcheon/files/original/cde7a38438c1168ee0128e4306fc939e.jpeg d9d356008fbac76581bd6007ce824ebc https://omeka.uottawa.ca/jmccutcheon/files/original/3a315f01c12495e1ced7b03ba7dd2e4d.png bf40f1d2198bab9c55040579b0bf5051 https://omeka.uottawa.ca/jmccutcheon/files/original/f76438e493ee34bf3da7a2aa18e5b215.jpeg 5d2faaa47bb27fbc5c7326b62e1a9804 https://omeka.uottawa.ca/jmccutcheon/files/original/248af3e926b4c7c6c177d0f63d77253b.jpeg e04d3e82d691429dd93a5dd2de4777f0 https://omeka.uottawa.ca/jmccutcheon/files/original/8f982ec159875c6ec3ab8b279b0bef70.jpeg a097f6ed4a8364731072e8e29d588b0c https://omeka.uottawa.ca/jmccutcheon/files/original/890f41234358e50f397205ca17f062b4.jpeg e2495387a7dd494a081cd62c0330359c https://omeka.uottawa.ca/jmccutcheon/files/original/799e7914e8207d66ded2e67dc4bb6d05.jpeg b9144009cf6091d6cd7b5384bf2500d4 https://omeka.uottawa.ca/jmccutcheon/files/original/8ef90fc5ac10c33ce350e19e32bf5559.jpeg 387c06a91d39a3a99c7f38228a48039b https://omeka.uottawa.ca/jmccutcheon/files/original/24783b5b781d87ed7b0498cd8e74af7c.jpeg 320692ad75e5ac97ad18aae3ddaae8c7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Chernobyl and Popular Culture Subject The topic of the resource A collection of items related to more contemporary interests related to the Chernobyl Nuclear Disaster Creator An entity primarily responsible for making the resource Kayleigh Gagné Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, https://dublincore.org/documents/dces/. Title A name given to the resource Graffiti and Dystopian Art